Philadelphia Orchestra @ SPAC, 8/15/2013

SARATOGA SPRINGS–Thursday night’s concert by The Philadelphia Orchestra at the Saratoga Performing Arts Center was billed as “The Night of the Drum.” There was a lot of rhythm in the concert, but not all of it was performed by the percussionists. Featured was Jennifer Higdon’s “Percussion Concerto,” with soloist Colin Currie, which was performed between Bramwell Tovey’s “Urban Runway” and Ludwig van Beethoven’s “Symphony No. 7 in A Major.” Tovey was also the conductor for the concert.

While the Higdon piece featured percussion, the Tovey piece was also bursting with rhythm, and the Beethoven, which Richard Wagner called “the Apotheosis of Dance,” featured vibrant rhythms as well. Its second movement, the famous “Allegretto,” has a constant rhythmic pattern throughout, but is orchestrated so wonderfully that the repeated rhythm doesn’t grate or get boring.

Tovey was not only featured as a composer and conductor, but introduced each piece with humor, as well as insight. His “Urban Runway” was introduced as a stroll through the shopping districts of Los Angeles and New York, but was more of a gallop. I was reminded more of a tour through a backstage lot in Hollywood, overhearing the music from the various films being made – a screwball comedy with its fast-paced witty dialogue, an edgy urban drama, an historical costume drama, etc., culminating perhaps at the commissary with all of the actors mingling in one place. The violas performed a languid retro melody reminiscent of Gershwin as a counterpoint to the fast paced music played by the rest of the orchestra. Unlike Norma Desmond, though, they were actually ready for their close-up.
It may seem like an oxymoron, but Higdon’s “Percussion Concerto” was probably too subtle for an outdoor setting. The opening soft section was drowned out by insects, and the lack of four walls accounted for a loss of resonance, and may also have contributed to some lack of synchronization between the soloist and orchestra. That said, it’s a wonderful piece, and Currie, who the piece was written for, gave a bravura performance. There were some especially nice moments between him and the orchestra’s percussionists.

Maybe it’s a British characteristic, being able to turn emotionally on a dime. Unlike American method actors, British-style actors can crack a joke offstage and then turn around and deliver King Lear’s soliloquy onstage. Tovey was able to go from joking commentary, to delivering a masterful, taut performance of the Beethoven. He brought a composer’s sensibility to the piece, not downplaying the delicious dissonances in the second movement, and bringing out the tensile strength of the piece, shaping it masterfully. As is fitting, no single wind instrument stood out, as each player matched dynamics and phrasing. The orchestra sounded great, and the entire performance was stunning.

15 Responses

I wonder where the reviewer was sitting. The composer, her partner, my wife, and I were sitting audience left midway and all fealt that the acoustics were just great. Yes, there was natural noise from the stream on the property, but there was no lack of syncronization with the orchestra battery and Colin Currie – and I think Ms. Higdon would know!

Mr. Rosdoff was undoubtedly sitting close up, since the featured composer always (deservedly) gets the best seats. For the rest of us sitting midway or in the back or the lawn, a far different picture emerges — one of a very problematic acoustic situation in the hall. Ms Leach mentions the noise of the bugs, which is deafening the farther one sits from the stage. Also problematic (and totally unnecessary it seems to me) is the noise of the fan circulating air throughout the space, also blocking out much of the subtle phrasing, especially in the strings.
What no one has yet mentioned, however, is a problem even worse. There is a decidedly dead spot all along the front of the stage. This has the effect of severely diminishing the sound of the violins. Last year with the Buffalo Phil performing the Dvorak New World, this was so bad that one could not even hear the violins through much of the symphony. Soloists (such as the pianist on the August 17 concert) sound tinny and far away. This problem really needs to be addressed along with the others mentioned. Attending a concert at SPAC makes one want to crawl back to the living room and listen to a CD, which may not have the pizazz but at least will have proper balances. And no crickets!

The acoustical problems (except the crickets) were solved in 1966-67 when the SPAC Board of Directors had a so-called dam with three sluice gates installed which were controlled electronically. I have 25 different citations on the so-called Ormandy Dam, why it was necessary, and how the use of it not just made the place quiet but enabled RCA Victor to hold successful recording sessions there in 1968 and ’69.

I went to the Friday and Saturday concerts conducted by Noseda, with Sarah Chang (who was amplified) and Jonathan Biss. The quietest portions of the music were completely drowned out, as I confirmed when I went to Tanglewood Sunday for the final TMC Orchestra concert. In the quietest portions there, I had no trouble hearing Manny Ax’s playing in Mozart’s K. 271 concerto.

However, the huge Tanglewood audience was rude — one of the worst audiences I have sat in, there.

So, there’s the choice: You can hear mostly stale or weird programs at SPAC with a well-behaved audience in a noisy amphitheater that blankets quiet music. Or, you can hear music in a quiet Shed at T’wood, but the audience is filled with geriatric children.

Some choice.

However, the two Noseda-conducted programs at SPAC were largely taken from his concerts in December in Philly, and they were truly excellent, especially the wonderful Tchaikovsky Third Symphony, heard for the first time ever in Saratoga.

Addendum on the so-called Ormandy Dam: The dam lasted until the late 1980s when it fell apart, and neither the prior nor current SPAC administrations have shown any interest in repairing it. That is why SPAC is such a failure with the classical public — you simply cannot hear quiet music there.

Years ago, there were no acoustical problems other than the crickets, and even they aren’t such a problem after 9 PM, when they settle down. When the place was built, events started at 8:30 PM. Also, there were seats in the orchestra pit for the Philadelphians, as I remember very well. I also have aircheck recordings of Orchestra broadcasts, since the concerts up through the late 1980s were taped and aired from there, usually on a one-month delay.

The fact that SJ denies there is such acoustical trouble proves he is a member of the SPAC bored.

Where exactly did I say anything about the acoustics? I was commenting on the cricket complaint in the review, which seemed trite, by making a sarcastic comment aimed at humor rather than hatred. Don’t take yourself so seriously Don. I don’t think many others do. In my defense, I do listen to you and enjoy your comments when you stay musical and refrain from the personal attacks. The new to me Tchaikovsky Third was the highlight of the season so far.

It is an outdoor venue. Crickets, helicopters, sirens all happen. This isn’t the Troy Savings Bank Music Hall or Carnegie Hall. The setting is more casual and clearly the people attend lighter and more mainstream things in greater numbers. That doesn’t excuse rude audiences or noise that could be mitigated.

Marcia – how come a board member like me has to pay $175 for a season lawn pass?

I wouldn’t know about the requirements to be on the SPAC Board Don, but I suspect that $175 isn’t quite what they are looking for.

That’s all they get from me, that and the five times I use the $5 upgrade tickets that enable me to move down into the inside and enjoy the great seating that you and your fellow one percenters take for granted.

The blog is no one’s “personal domain”. The idea is to get conversations going about the music and I assume all thoughts are welcomed, even odd personal attacks like yours. You apparently have no opinions about anything other than dismissing entire forms of music because you don’t like it.

Your bizarre capitalizing of certain words in all of your posts is a little creepy however. I leave you now so you can play with god and his crickets.